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Dallas Contemporary’s Executive Director Peter Doroshenko and his team maintain art experiences with #dcfromhome while defining future programming.

BY CHRIS BYRNE

Q: What does a noncollecting museum do during a pandemic? A: Get creative. The Dallas Contemporary has vigorously mounted exhibitions by international artists since the appointment of Peter Doroshenko as its executive director, and 2020 was to be no exception. The crisis, however, forced the museum to pivot from planned spring exhibitions to a vital online art dialogue.

As a former trustee of Dallas Contemporary who served on the Board of Directors’ Executive Committee that appointed Doroshenko, Chris Byrne was uniquely poised to interview him on what’s now and next.

Chris Byrne (CB): This past winter, we traveled to Aspen to participate in a panel discussion with the artist Lonnie Holley. The event was part of the Aspen Skiing Company’s Art in Unexpected Places. Can you describe this program as well as your ongoing work with Ski Co? Peter Doroshenko (PD): I was invited in late 2019 by Paula Crown — who is a longtime supporter of Dallas Contemporary — to assist the Art in Unexpected Places program in Aspen with programming and publications. This is the fifteenth year for the Art in Unexpected Places program with the Aspen Skiing Company, which is evolving and ever challenging. Paula and the team at the company are wonderful to work with.

To open the 2020 program, Atlanta-based artist Lonnie Holley was invited to participate in a full day of activities, including a unique educational event with families. It featured the screening of his new film, I Snuck Off the Slave Ship, a panel discussion about his work, and then a bespoke musical performance. Lonnie is such a renaissance, multi-dimensional artist and has an amazing personality—it was a special time. CB: Are there any proposed projects for next season? PD: We have invited FriendsWithYou, the Los Angeles collaborative art group (which recently had a solo show at Dallas Contemporary) to engage in various events within Aspen, amongst them are the creation of groups of ski badges and a large temporary installation at

One of Dallas Contemporary’s signature graphics.

FriendsWithYou, the dance, installation at Dallas Contemporary.

one of the ski lodges.

Their work creates happiness, reflection, and positive vibes—all important emotions for this time. In early 2021, Paola Pivi will install her colorful polar bear sculptures in various lodges and buildings, continuing the uplifting theme. We will also incorporate family educational events and pop-up talks around the city about the art and artists to continue to engage with the public. CB: How does this supplement the other contemporary art programs in Aspen? PD: The idea is to add to the strong mix of art and learning programs in and around Aspen. All of our programs will be site-specific, many performative or participatory, and in non-traditional art locations. CB: Is there a connection to Dallas Contemporary? PD: There is a strong exchange between Dallas and Aspen both with artists and patrons. Starting this year, a few artists that I have worked with in Dallas will be part of the program in Aspen, and we hope that in the near future artists invited to Aspen will later come to Dallas. It’s all about creating a dialogue or two-way street between art and artists in two different cities. Learning and public programs will also be an important part of the mix. CB: In late March, it became necessary for Dallas Contemporary to reschedule several exhibitions as well as the annual gala. Can we look forward to these events resuming in the fall? PD: We are continuously assessing the future and how we will engage the public in the autumn of 2020 and beyond. We have a program of amazing artists slotted for a September opening: Yoshitomo Nara, Liu Xiaodong and Paolo Roversi. All are new or never-seen-before exhibitions–like always, we strive for fresh content and scholarship— all at free admission

At this time, we have channeled our efforts into our website. Our initiative #dcfromhome, has so much new and exciting content from artists, educators, writers, curators, and musicians; it’s head spinning in an awesome way. #dcfromhome reflects our mantra of contextualizing contemporary art, design, and culture for North Texas audiences. It has always been a “go big or go home” style. We went live with the initiative just under a week after our temporary closure, a testament to responsive creativity and true contemporary thinking. CB: During the closure, are you still working from the museum? It’s great that the entire staff is still in place (albeit remotely) making Dallas Contemporary a noted exception among so many visual art institutions. PD: Our commitment to contemporary art in North Texas has kept us busy, and our entire team has played a huge role in allowing us to thrive during these unprecedented times. We are all working remotely and only venture to the museum for necessary tasks. Over the past few weeks and months it has been all about focusing on setting achievable goals to keep the museum moving. We are a small team with a nimble operation, we are receptive to change, embracing the word deconstruction. CB: How will the museum’s fundraising continue throughout the summer? Are you planning to work with board members as well as sponsors? PD: We are continuously working with our board (which has been immensely supportive), stakeholders, and members to not only keep them engaged but re-image the future of the institution. We have also created new, successful retail opportunities with partners and on our website, and are examining new funding paradigms. When you have many minds and great ideas involved, anything is possible. CB: I’m looking forward to museum’s upcoming exhibition with Peter Halley and understand that he is planning to show his Cell-Grid Paintings. Why did you and Peter decide to focus on this particular aspect of his work? PD: I have been visiting Peter Halley’s studio for three years now with various dialogues about his current and past works. He has had many exhibitions and survey projects in Europe. Recent exhibitions in New York City were monumental architectural interventions. A focused exhibition with the Cell-Grid Paintings has never been organized and seems to fit the museum’s history and current tempo. It will continue our path of excellence and not being afraid of risk. CB: Are you still considering a drive-in art project with Peter Halley or Julian Schnabel, using the block-long parking lot next to Dallas Contemporary? PD: I like the idea and we have been dreaming about it for years. Stay tuned! P